Mikki Ferrill

Born in Chicago in 1937, Valeria “Mikki” Ferrill pursued her education in graphic design and illustration at the School of the Art Institute of Chicago. It was during her studies that she first encountered photography as a transformative art form, sparked by images created by Ted Williams, a fellow South Side photojournalist known for his evocative photographs of jazz musicians. This pivotal moment led Ferrill to apprentice with Williams, shaping her path as a photographer.

As a protégé in Williams's studio, Ferrill immersed herself in the craft alongside notable photographers such as Tom Jackson and Jim Taylor and studying the work of photographers such as Gordon Parks. Through technical classes and hands-on experience, Ferrill developed her skills and artistic vision, realizing, “Photography is not just a documentary tool; it is a great art form.” From 1967 to 1970, Ferrill accompanied Williams on assignments in Mexico, where they covered events like the 1968 Olympics. Upon returning to Chicago in 1970, she became a freelance photographer, contributing her work to several notable publications, including Ebony, Downbeat, Chicago Defender, Chicago Tribune, Final Call, and Muhammad Speaks.

One of her most significant projects was a decade-long commitment to photographing The Garage, an improvised music club that popped up every Sunday in a car garage located at 610 East 50th Street in Chicago. Known affectionately as "The Picture-Taking Lady," Ferrill captured the spirit of the venue, which hosted a mix of jazz and R&B music. She noted, " The people, the music, and just the atmosphere became my spiritual inspiration." Her work from The Garage was featured in the first and second volumes of The Black Photographers Annual, where she noted, "Whether it be Maxwell Street Market or a market in San Luis Potosi, I believe ‘every man his own candle, and sees by his own flame.’"

Ferrill's photography extended beyond The Garage, encompassing a wide range of subjects from community events to notable figures in Chicago's artistic landscape. She participated in influential exhibitions, including Two Schools: New York and Chicago Contemporary African-American Photography of the 60s and 70s in 1986. That same year, Ferrill’s work was also included alongside Gordon Parks’s in the group exhibition curated by Deborah Willis, On Freedom: The Art of Photojournalism at the Studio Museum in Harlem. Throughout her career, Ferrill embraced her role as a woman in a male-dominated field, often being the only female photographer in various settings. Her experiences, ranging from her involvement with the press at significant events to her candid interactions with her subjects, underscored her belief in forming genuine connections. "I always did things on my own terms," she reflected, highlighting her commitment to authenticity in her work.